THEGAYUK

Author: Alex Da Silva

  • Afternoon Tea Review | Lost and Found, Birmingham

    ★★★★ | Gentleman’s Afternoon Tea and Tipples

    Afternoon Tea is a delightful, British experience which we do not often do. The fresh sandwiches, the warm scones, the ever-flowing tea and the high-end service is something of a treat nowadays. The Gentleman’s Afternoon Tea at Lost and Found takes all you know about tea and cranks it up a notch – and all for just £18.95 per person.

    To start off our afternoon marathon, we were greeted with a glass of prosecco each with a raspberry, and Josh provided us a warm and friendly service throughout. The menu for the Gentleman’s Afternoon Tea consists of meaty, bulky and monster sandwiches which were packed with flavour and you could taste the freshness with every bite. Crispy chicken and chorizo on a ginormous baguette halved was spectacular – fresh rocket and well-cooked chicken with just the right amount of chorizo that let the southern style chicken take centre stage. The glazed ham and homemade chutney baguette was very rich on the palate and the sweetness of the chutney really complemented the meat with an added crunch from the lettuce. The egg, mustard and cress sandwich was a really nice light and fluffy mix to the board. My favourite thing that went in my mouth, though, was the scotch eggs – what a highlight! The egg was cooked perfectly and freshly which had the yolk running and put your knife through, with delicious batter and pork paste full of flavour and the combination together sent fireworks. The feta cheese and caramelised onion pastry was another delicate yet fierce competitor for the palate. The pork scratching on chilli jam was okay, I found the scratching too hard to chew and it was just one on each ramekin with loads of chilli sauce underneath – not sure how I feel about this one. The scones were average, did not really stand out as a feature, but popcorn Tiffin was superb. The teapot was very big which meant we probably got about 5 cups each which was enough to go with until the food-athon was over.

    You can opt for any of the Afternoon Teas and attach a Tipple, where you select from one of the three cocktails to spice up the experience for an extra £5. It is definitely worth doing that.

    In the end, it was too much and we had to admit defeat – doggy-bagging half of the crispy chicken and chorizo baguette and two Tiffin cakes. I must say, I had the sandwich for my lunch the day after and it was equally as tasty and fresh as the day before. It shows that good ingredients and care is put into the afternoon tea platters. Presentation wise, it could have been more ornate considering the grandiose nature of Lost and Found with its botanical themes in the décor. I was half expecting some leaves to contribute to the aesthetics, but the whole tea was served on one slate board. It looked great, but I could have done with separating the cakes from the sandwiches for practicality.

     

  • THEATRE REVIEW | The Play That Goes Wrong, Marlowe Theatre Canterbury

    ★★★★★ – Dangerous, jaw-dropping and comedy genius!

    Mischief Theatre, in role as The Cornley Polytechnic Drama Society, brought to the Marlowe Theatre in Canterbury stage an uproariously funny murder mystery entitled The Murder at Haversham Manor and it went south, literally.

    The Play That Goes Wrong was a comedic masterpiece, like its successor Peter Pan, Goes Wrong, with dangerous and risky tricks that left audiences clutching on to their seats as pieces of stage fell off and got thrown around, sometimes missing the actors by inches. The actors were so efficient in everything they did, from balancing three objects across two body parts, to expertly delivering their lines while dodging canvasses, candelabras and each other. What was sublime about The Play That Goes Wrong was that if ever you have seen an amateur, or a badly produced professional, play, this show embodies the different mistakes and disasters that have occurred in the former shows. There’ll be a moment where you cannot help but recall a bad production where sets had fallen down or actors had genuinely forgotten lines and asked for “line” throughout entire speeches.

    Jason Callender who plays Jonathan playing Charles Haversham was brilliant. His gag was always turning up at the wrong point in the play, revealing the ending every time. It was very comedic, too, when Jonathan was rarely allowed to play dead, for actors clumsily walked on him, sat on him, or fell on him. He made the audience laugh at his every entrance, and I chiefly loved his sneaking off stage wriggling subtly on the floor as if to kid the audience that we couldn’t see him depart. Patrick Warner who plays Chris playing Inspector Carter was a comedy genius. Every reaction was crafted to perfection, and his lines were well-timed with the action. The audience hung on to every word he said. He played the director too, so it was particularly hilarious when, under his breath, he would mutter a direction to understudies that had come on to fill in for a part. Ham acting is a feature often prominent in amateur murder mystery productions, and Alastair Kirton playing Max playing Cecil Haversham did a sterling job showcasing this. Max’s sawing the air with his hands and over dramatising his role while stopping to smile as the audience laughed during one of his lines, was incredibly entertaining. When Max changed role to be the Gardener he flashed his clothes to tell it was still him, and that he had returned, but as a different character. Absolutely hilarious. Lastly, Natasha Culley as Sandra Wilkinson enacting the role of Florence Colleymoore was a treat. Sandra was everything that had ever gone wrong with acting all sewn together in one actress. Her ticks, shallow demeanour, and not able to improvise without direction, was a great feast for the senses. Her overproduction of movement as she spoke, too, was hilarious. Overall, each cast member contributed to one of funniest nights I’ve had this year.

    The Play That Goes Wrong was especially entertaining for the set was a safety hazard, as the study, built atop of the drawing room, with no rails or support, collapsed gradually while the actors were still on there. It eventually fell down while an actor was under it, but the dexterity by which the actors moved and positioned themselves, made the accidents sort of safe, and we could exhale once again.

    Mischief Theatre is like Alton Towers, you queue to get on, you get several scares, and then you want to hop on again and again.

    The Play That Goes Wrong is playing at the Marlowe Theatre, Canterbury until 5th August 2017

  • THEATRE REVIEW | The Play That Goes Wrong, Plymouth Theatre Royal

    ★★★★★ – Dangerous, jaw-dropping and comedy genius!

    Mischief Theatre, in role as The Cornley Polytechnic Drama Society, brought to the Plymouth Theatre Royal stage an uproariously funny murder mystery entitled The Murder at Haversham Manor and it went south, literally.

    The Play That Goes Wrong was a comedic masterpiece, like its successor Peter Pan, Goes Wrong, with dangerous and risky tricks that left audiences clutching on to their seats as pieces of stage fell off and got thrown around, sometimes missing the actors by inches. The actors were so efficient in everything they did, from balancing three objects across two body parts, to expertly delivering their lines while dodging canvasses, candelabras and each other. What was sublime about The Play That Goes Wrong was that if ever you have seen an amateur, or a badly produced professional, play, this show embodies the different mistakes and disasters that have occurred in the former shows. There’ll be a moment where you cannot help but recall a bad production where sets had fallen down or actors had genuinely forgotten lines and asked for “line” throughout entire speeches.

    Jason Callender who plays Jonathan playing Charles Haversham was brilliant. His gag was always turning up at the wrong point in the play, revealing the ending every time. It was very comedic, too, when Jonathan was rarely allowed to play dead, for actors clumsily walked on him, sat on him, or fell on him. He made the audience laugh at his every entrance, and I chiefly loved his sneaking off stage wriggling subtly on the floor as if to kid the audience that we couldn’t see him depart. Patrick Warner who plays Chris playing Inspector Carter was a comedy genius. Every reaction was crafted to perfection, and his lines were well-timed with the action. The audience hung on to every word he said. He played the director too, so it was particularly hilarious when, under his breath, he would mutter a direction to understudies that had come on to fill in for a part. Ham acting is a feature often prominent in amateur murder mystery productions, and Alastair Kirton playing Max playing Cecil Haversham did a sterling job showcasing this. Max’s sawing the air with his hands and over dramatising his role while stopping to smile as the audience laughed during one of his lines, was incredibly entertaining. When Max changed role to be the Gardener he flashed his clothes to tell it was still him, and that he had returned, but as a different character. Absolutely hilarious. Lastly, Natasha Culley as Sandra Wilkinson enacting the role of Florence Colleymoore was a treat. Sandra was everything that had ever gone wrong with acting all sewn together in one actress. Her ticks, shallow demeanour, and not able to improvise without direction, was a great feast for the senses. Her overproduction of movement as she spoke, too, was hilarious. Overall, each cast member contributed to one of funniest nights I’ve had this year.

    The Play That Goes Wrong was especially entertaining for the set was a safety hazard, as the study, built atop of the drawing room, with no rails or support, collapsed gradually while the actors were still on there. It eventually fell down while an actor was under it, but the dexterity by which the actors moved and positioned themselves, made the accidents sort of safe, and we could exhale once again.

    Mischief Theatre is like Alton Towers, you queue to get on, you get several scares, and then you want to hop on again and again.

    The Play That Goes Wrong is playing at the Plymouth Theatre Royal until 29th July 2017

     

    Originally reviewed at the Birmingham Rep

  • THEATRE REVIEW | The Play That Goes Wrong, Malvern Theatre, Worcestershire

    ★★★★★ – Dangerous, jaw-dropping and comedy genius!

    Mischief Theatre, in role as The Cornley Polytechnic Drama Society, brought to the Malvern Theatre stage an uproariously funny murder mystery entitled The Murder at Haversham Manor and it went south, literally.

    The Play That Goes Wrong was a comedic masterpiece, like its successor Peter Pan, Goes Wrong, with dangerous and risky tricks that left audiences clutching on to their seats as pieces of stage fell off and got thrown around, sometimes missing the actors by inches. The actors were so efficient in everything they did, from balancing three objects across two body parts, to expertly delivering their lines while dodging canvasses, candelabras and each other. What was sublime about The Play That Goes Wrong was that if ever you have seen an amateur, or a badly produced professional, play, this show embodies the different mistakes and disasters that have occurred in the former shows. There’ll be a moment where you cannot help but recall a bad production where sets had fallen down or actors had genuinely forgotten lines and asked for “line” throughout entire speeches.

    Jason Callender who plays Jonathan playing Charles Haversham was brilliant. His gag was always turning up at the wrong point in the play, revealing the ending every time. It was very comedic, too, when Jonathan was rarely allowed to play dead, for actors clumsily walked on him, sat on him, or fell on him. He made the audience laugh at his every entrance, and I chiefly loved his sneaking off stage wriggling subtly on the floor as if to kid the audience that we couldn’t see him depart. Patrick Warner who plays Chris playing Inspector Carter was a comedy genius. Every reaction was crafted to perfection, and his lines were well-timed with the action. The audience hung on to every word he said. He played the director too, so it was particularly hilarious when, under his breath, he would mutter a direction to understudies that had come on to fill in for a part. Ham acting is a feature often prominent in amateur murder mystery productions, and Alastair Kirton playing Max playing Cecil Haversham did a sterling job showcasing this. Max’s sawing the air with his hands and over dramatising his role while stopping to smile as the audience laughed during one of his lines, was incredibly entertaining. When Max changed role to be the Gardener he flashed his clothes to tell it was still him, and that he had returned, but as a different character. Absolutely hilarious. Lastly, Natasha Culley as Sandra Wilkinson enacting the role of Florence Colleymoore was a treat. Sandra was everything that had ever gone wrong with acting all sewn together in one actress. Her ticks, shallow demeanour, and not able to improvise without direction, was a great feast for the senses. Her overproduction of movement as she spoke, too, was hilarious. Overall, each cast member contributed to one of funniest nights I’ve had this year.

    The Play That Goes Wrong was especially entertaining for the set was a safety hazard, as the study, built atop of the drawing room, with no rails or support, collapsed gradually while the actors were still on there. It eventually fell down while an actor was under it, but the dexterity by which the actors moved and positioned themselves, made the accidents sort of safe, and we could exhale once again.

    Mischief Theatre is like Alton Towers, you queue to get on, you get several scares, and then you want to hop on again and again.

    The Play That Goes Wrong is playing at the Malvern Theatre until 22nd July 2017

     

    Originally reviewed at the Birmingham Rep

  • THEATRE REVIEW | The Play That Goes Wrong, The Birmingham Rep

    ★★★★★ – Dangerous, jaw-dropping and comedy genius!

    Mischief Theatre, in role as The Cornley Polytechnic Drama Society, brought to the Birmingham Rep stage an uproariously funny murder mystery entitled The Murder at Haversham Manor and it went south, literally.

    The Play That Goes Wrong was a comedic masterpiece, like its successor Peter Pan, Goes Wrong, with dangerous and risky tricks that left audiences clutching on to their seats as pieces of stage fell off and got thrown around, sometimes missing the actors by inches. The actors were so efficient in everything they did, from balancing three objects across two body parts, to expertly delivering their lines while dodging canvasses, candelabras and each other. What was sublime about The Play That Goes Wrong was that if ever you have seen an amateur, or a badly produced professional, play, this show embodies the different mistakes and disasters that have occurred in the former shows. There’ll be a moment where you cannot help but recall a bad production where sets had fallen down or actors had genuinely forgotten lines and asked for “line” throughout entire speeches.

    Jason Callender who plays Jonathan playing Charles Haversham was brilliant. His gag was always turning up at the wrong point in the play, revealing the ending every time. It was very comedic, too, when Jonathan was rarely allowed to play dead, for actors clumsily walked on him, sat on him, or fell on him. He made the audience laugh at his every entrance, and I chiefly loved his sneaking off stage wriggling subtly on the floor as if to kid the audience that we couldn’t see him depart. Patrick Warner who plays Chris playing Inspector Carter was a comedy genius. Every reaction was crafted to perfection, and his lines were well-timed with the action. The audience hung on to every word he said. He played the director too, so it was particularly hilarious when, under his breath, he would mutter a direction to understudies that had come on to fill in for a part. Ham acting is a feature often prominent in amateur murder mystery productions, and Alastair Kirton playing Max playing Cecil Haversham did a sterling job showcasing this. Max’s sawing the air with his hands and over dramatising his role while stopping to smile as the audience laughed during one of his lines, was incredibly entertaining. When Max changed role to be the Gardener he flashed his clothes to tell it was still him, and that he had returned, but as a different character. Absolutely hilarious. Lastly, Natasha Culley as Sandra Wilkinson enacting the role of Florence Colleymoore was a treat. Sandra was everything that had ever gone wrong with acting all sewn together in one actress. Her ticks, shallow demeanour, and not able to improvise without direction, was a great feast for the senses. Her overproduction of movement as she spoke, too, was hilarious. Overall, each cast member contributed to one of funniest nights I’ve had this year.

    The Play That Goes Wrong was especially entertaining for the set was a safety hazard, as the study, built atop of the drawing room, with no rails or support, collapsed gradually while the actors were still on there. It eventually fell down while an actor was under it, but the dexterity by which the actors moved and positioned themselves, made the accidents sort of safe, and we could exhale once again.

    Mischief Theatre is like Alton Towers, you queue to get on, you get several scares, and then you want to hop on again and again.

    The Play That Goes Wrong is playing at The Birmingham Rep until 24th June

  • RESTAURANT REVIEW | Carluccio’s, Solihull

    Carluccio’s has debuted its first ‘new generation’ restaurant in the heart of Solihull, bringing its original and unrivalled modern Italian dining, deli and shop to the Mell Square development.

    Review of Carluccio's in Solihull
    © Mark Blackburn

    Last night, I took my friend to Carluccio’s, and together we had a wonderful evening. The environment was cosy, the staff were very friendly and caring, especially Nicole who served us. Nicole was very smiley, and was very genuine when catering for our needs – throwing in some cheeky recommendations for us to try. We were particularly glad of the Homebaked Focaccia suggestion with traditional Extra Virgin Olive Oil (£2.95) and the accompaniment of Rustica Marinated Olives (£2.95).

    We ordered a nice dry bottle of white Babylon Bianco (£21.95), which agreed with every dish we ordered. For starters, my guest ordered Crispy Calamari (£6.50) and the generosity of the dish was very appealing, enough for me to steal some bites. This dish I highly recommend, and will be ordering myself next time. I ordered Crab Macaroni (£6.95) for my first course, but I have to say I was a little disappointed. Though I appreciated the presentation of it, it was sort of ‘crab-less’. Having grown up in Portugal, I was spoiled for seafood. I wasn’t expecting a whole crab, of course, but I definitely wanted some fresh crab meat to go with the pasta. It was more like dry shavings tossed on top of the dish. It tasted fine, but for £6.95 I wanted some ocean essences. This is a new dish, so perhaps Carluccio’s should look at how the crab dimension is served in the next culinary draft.

    Mains wise, I chose Festoni with Smoked Salmon & Vodka (£12.50). This dish was the highlight for me. It had plenty of smoked salmon, which I love, and the Festoni pasta really worked for this dish, absorbing the wonderful cream & vodka sauce. Nicole grated some cheese for me which complemented it very well. My friend was not too impressed with his main. For just under £15, the Chicken Saltimbocca (£14.95) promises a palate adventure with 14-day aged prosciutto Gran Sasso with sage and a white wine sauce; served with roasted potatoes tossed in pesto and rocket. In part, the flavours from the potatoes and bird delivered, but the chicken was left with a tiny, speedo-sized prosciutto piece in the middle, leaving the rest of the chicken escalope bare. It was like the chicken was wearing a prosciutto loincloth. In fairness, when this was mentioned, the manageress offered to add more pieces or to choose some sides. That was a very professional and friendly way to deal with our disappointment.

    The desserts were Mandarin and Lemon sorbet, which were very refreshing and packed with fragrance and flavour, and I had the Cioccolato Fondente (£6.95), which Nicole raved enthusiastically about. For that price, you are expecting an amazing dessert, but it was just like any other you get from a tin. It wasn’t special enough in my eyes.

    The evening was finalised by a shot of Limoncello and Nicole doggy-bagged my wine, which was perfect! Overall, great atmosphere and flavours, but some concepts need rethinking and rebranding.

    ADDRESS: 159-161 High St, Solihull B91 3SS

    WEBSITE: www.carluccios.com/restaurants/solihull

    Price Rating: £££ (explained)

    Star Rating: ★★★ (explained)

     

     

     

  • THEATRE REVIEW | Tommy The Musical, Birmingham Rep

    ★★★★ thrilling and emotional

    One of the most influential UK rock and roll bands, The Who were formed in 1964 in Shepherd’s Bush, London. In 1969 The Who created a unique concept album called Tommy, and it quickly became a cultural fete. In 1975, Ken Russell adapted the album into one of the best and biggest films with an all-star cast starring Tina Turner, Elton John, Eric Clapton, Jack Nicholson, and more.

    New Wolsey Theatre and Ramps on the Moon collaborated to bring to life Tommy The Musical to the main stage as a daring musical. The Who’s Tommy musical was a sad, gritty and powerful tale about a boy who is ‘deaf, blind and dumb’ and at the mercy of Uncle Ernie (Garry Robson) who ‘fiddled about’ with him at night; Cousin Kevin (Lukus Alexander) who bullied and taunted Tommy, and a thug of a stepdad Frank (Alim Jayda), relentlessly trying to ‘solve’ Tommy’s disabilities.

    Tommy The Musical, directed by Kerry Michael, was extra special for it allowed the opportunity for actors who are D/deaf, disabled and non-disabled to work together to produce an eerie and fantastic production with all-audience accessibility. Through embedded audio description, creative captioning and integrated British Sign Language, everyone could engage and be a part of the musical.

    Tommy (William Grint) was phenomenal. William really brought to life the chronicles of Tommy’s life and was sublime in the delivery. What Tommy went through, was hard and gruelling, and William did an amazing job showcasing the outcomes of so much abuse. His two voices (Julian Capolei and Matthew Jacobs-Morgan) were perfect for Tommy’s voice, in particular, Julian’s voice, which was so powerful and pleasing to the ear. Tommy’s mother, Nora (Donna Mullings) was also formidable, really conveying emotion without speaking a lot, and when she did, it was potent and emotionally charged. The best voice in the production was the actor playing Nora’s voice (Shekinah McFarlane).

    The outstanding performer of The Who’s Tommy was Acid Queen (Peter Straker). In the film, Acid Queen is played Tina Turner, and for this production, it was a man dressed in drag, which was a very progressive touch to the production. Peter’s voice was stunning and his overall performance was commanding – this was the highlight for me.

    This is an excellent idea, and we need to see more theatre productions reflecting stories through actors who are physically affected by the context of the plays.

     

  • THEATRE REVIEW | To Sir, With Love, The Birmingham Rep

    ★★★★ – What theatre is all about!

    Photo Credit – Graeme Braidwood

    Adapted by Ayub Khan-din for Birmingham, To Sir, With Love had its natural charm and appeal to the audience of The Rep. The local, ‘banterous’ fun was well appreciated and received for many laughs were heard in the auditorium. What also impressed me, and I found highly commendable, was the extent to which The Birmingham Rep invested their efforts into nurturing young, new and home-grown talent via The Young Rep Company.

    Every young person shone and were utterly convincing in the roles they played, conveying a variety of emotions with much maturity. Charlie Mills who played Denham, stood out for his aggressive demeanour at the start, and the 360 degree turn at the end. His transition from delinquent to amicable was very warming to witness. Alice McGowan portraying Pamela performed with delicateness but fierceness too and, though her part was smaller, Alice really invested her time to move elegantly and speak with natural flair in-line with the character’s traits. Eden Peppercorn, who played Monica, did really well in contributing to the chaos and challenge of Mr Braithwaite’s initial classes. Her subtle change of heart was well developed and endearing too. Phillip Morris, local actor who trained at Birmingham School of Acting, did a sterling job, to the point of gripping the audience all the way through while fully harnessing the moments and challenges in which his character found himself in. Phillip Morris was a star of the play, and I believe this opportunity granted by The Rep will no doubt further his career in the theatre industry.

    I really loved the thorny fun had between the characters of Mr Weston and Clinty, played by Matt Crosby and Polly Lister respectively. Polly really embodied the locality of the adaption through her West Midlands accent, and she was much joyful to watch, with exquisite comedic timing. Matt was a treat to watch too, and he must have channelled a teacher he knew, because his portrayal of Mr West really made me, and I’m sure others, reminisce, not very fondly, teachers from our pasts; or for those in the profession, education staff would probably relate too.

    Plays are instrumental to teach people their own history. To Sir, With Love did just that. It gave us flavours of the past mixed with contemporary seasoning. It was a feast to be lapped up! Using young talent really made the production special and very memorable, and I hope to see the young actors on stage again soon, as they so deserve it!

    Running until 6 May.

  • THEATRE REVIEW | One Love: The Bob Marley Musical, The Birmingham Rep

    ★★★★★ | One Love: The Bob Marley Musical

    Played with your heartstrings and lullabied your soul

    © Helen Maybanks

    Few names exist in the music industry where sparks have spread like wildfire across the world. Bob Marley was certainly the sensation that reached many people around the globe, and the feeling that ripples still decades later. Bob’s vision, talent and style have made him an eternal flame.

    The Birmingham Rep hosted ‘One Love: The Bob Marley Musical’, and an epic event it was! Written and directed by Kwambe Kwei Armah, ‘One Love’ celebrates the icon Bob Marley in a delicate, timeless and memorable way. Through the history of his early music career to his later achievements, the audience were transported on a journey evoking nostalgia and emotion from the depths of your core.

    Mitchell Brunings played Bob Marley in an effervescent way that drew you in instantly, and commanded the stage with mastery and ‘next-level’ leadership, as the remaining characters shone around him; upscaling the standard of the production. It was a flawless performance by Mitchell. As an ensemble, every artist was terrific and invested every ounce of energy into every move and musical note. Alexia Khadime who played Rita Marley was the second star of the show second to Mitchell Brunings, with her gifted musical range and was absolutely captivating in her acting. Alexia really added to the drama and darkness of the story and handled emotion expertly.

    The Redemption Song was my favourite moment in the show as the track was beautifully arranged to illustrate the moment Bob Marley’s life turned 360 degrees, returning to his routes.

    ULTZ designed the production and a vision that was fitting with the ambition of the show. Using multimedia against sets, creating moments in time with real footage corresponding with key events shown in the musical. People need to see this show for the education, entertainment and the ride down memory lane were as sweet as guava jelly!

     

  • THEATRE REVIEW | Cirque Berserk, Birmingham Rep

    THEATRE REVIEW | Cirque Berserk, Birmingham Rep

    Dangerous, daring but a little spark-less  ★★★

    ©circusphotographer.com

    This is the second time that I have seen Cirque Berserk at the Birmingham Rep, and I have mixed feelings. Mostly, I really enjoyed the acts, and there were moments that got you on the edge of your seat, gasping in horror; but others that made you cringe.

    There were your usual circus’ performances such as acrobatics, flame juggling, and even a clown character, which was quite funny; it was funnier when you heard the children laugh out loud in the audience at his every gag. The acts that stood out were Tropicana Troupe, a Cuban acrobat team that catapulted themselves across the stage landing perfectly on a crash mat, and in the second half flying halfway across the air to land precisely on a chair high up off the ground. Of course, their god-like bodies were also a show-stopper. Jose and Gaby performed a stunning contemporary/acrobatic dance routine where Gaby suspended herself with just one hand using Jose’s forehead as support. This blew the audience away, and we were glued to their beautiful movement throughout. Odka was also incredibly mesmerising to watch as a contortionist; Odka shot an arrow against a target by using her feet! Then we saw her spill out of a small bottle-like container. The four motorcyclists inside a metal dome they call – Globe of Death – was extreme and jaw-dropping, and was a brilliant way to end the show.

    The other artists appeared little awkward and kept demanding rounds of applause which took away the moments that were really stunning and hand-clapping worthy. Bolas Argentina were very good in the second half, but the first half it was awkward when Germaine tossed the bolas against a springboard but it was a lacklustre effort. Then, Gabriel did a similar trick and it had so much more energy and rhythm to it. The Berserk Dancers were disappointing, as every time they appeared on stage, it looked like they were forced to be there and it made some moments cringing and laughable with only one or two really going for it. Timbuktu Tumblers were very good, but again, a lot of applause begging after every little thing. British audiences, I guess, like to be left alone and want to clap when they feel it necessary. It was especially awkward at the very end when the audience clapped, but the artists wouldn’t move until there was a complete standing ovation, which ended with an unenthusiastic standing ovation from half of the audience.

    Overall, enjoyable, but for a circus with some very good acts, it lacked a punch.

  • THEATRE REVIEW | William Shakespeare’s Long Lost First Play (Abridged)

    THEATRE REVIEW | William Shakespeare’s Long Lost First Play (Abridged)

    Delightful, charming and uproariously funny. ★★★★★

    © Geraint Lewis

    Reduced Shakespeare Company put on a masterful performance combining Shakespeare’s most and least known plays and characters into a fiendish cauldron, summoning up hilarious crossover tales that made the audience laugh out loud. Reed Martin and Austin Tichenor designed ‘William Shakespeare’s Long Lost First Play’ with all Shakespeare levels in mind. Whether you are a beginner or a scholar, there was something for you to laugh at, recall the connection, and laugh again. Perhaps rekindle fond memories of school, rehearsal and at a theatre.

    The three actors commanded their craft with expertise and mastery. It was very clear, very quickly, that Joseph Maudsley, Matthew Pearson and James Percy had studied, played and understood the plots and twists written by the Bard. I chiefly loved the scene in which one actor was attributing Disney connections with Shakespeare’s plays. The ‘Frozen’ and ‘A Winter’s Tale’ link was one of the funniest moments because when the other actor contested that connection, the other said ‘let it go’. The speed in which the three actors morphed, transformed, and changed to represent the different characters was astonishing, as well as the effervescent energy that glued the audience to their every move. The plot crossovers were also something to remember, in particular, Lady Macbeth coming onto Hamlet, and Richard III getting it on with Falstaff. It was so enjoyable to watch the twists and contrivances that got them to be together. Archenemies Ariel and Puck were the thread that brought the stories together, played by Joseph Maudsley and James Percy respectively, convincingly demonstrated that all of Shakespeare’s plays could coexist in the same universe. Who knew?

    The set was very stripped down with only one arch as the backdrop. However, this made it even more special because it became all about the actors, with their props and fanciful attires that coloured the stage with the gags, tricks, and exquisite storytelling that we saw last night. I want to see them again!

    Running 14th and 15th February.